Karthik Balasubramanian, Author at Gameopedia - Page 3 of 3

Games-as-a-Service : How Games Thrive for Years

When game developer Bethesda charged $2.5 for horse armor in Oblivion in 2006, it probably had no idea that such transactions would make gaming companies billions in the future.

Bethesda had created the world’s first microtransaction – the sale of game items and other intangible digital assets for a small price – and was widely criticized and laughed at: users felt they were paying for something that should have been in the game all along. Bethesda took stock of the criticism, released better, large-scale DLCs for Oblivion (2006) and moved on from the horse armor debacle.

Horse Armor Elder Scrolls IV
Horse Armor in Elder Scrolls IV: Oblivion (Courtesy Bethesda)

Today, games-as-a-service (GaaS) or live service games such as Candy Crush Saga (2012), Fortnite (2017), and Genshin Impact (2020) rake in billions of dollars and are by far the most popular titles, boasting massive user bases. Many of these games are free to play and make their money mostly through in-game purchases and other monetisation strategies.

In this article we discuss how the GaaS model works and the factors that determine the success or failure of a live-service game. We will also look at how cloud gaming, and the emergence of gaming-as-a-platform, could change the future of such games.

What is the GaaS Model?

A game-as-a-service employs a recurring revenue model by monetizing the gaming experience through microtransactions, subscriptions, expansion packs, ads and digital passes. A live-service title typically has a strong multiplayer  or social component and uses such revenue streams to fund and deliver regular updates and content over an extended duration, keeping users engaged for years. Developers provide constant support with patches, quality-of-life updates and game-balancing fixes, while adding new premium content like cosmetic upgrades, areas, quests and game modes.

Publishers can adopt multiple payment models to make such games viable – Fortnite is free-to-play, with microtransactions and advertising collaborations, while World of Warcraft (2004) is a subscription-based game. For The Elder Scrolls Online (2014) you pay for the base game, and can buy DLC’s as they are released. However, a subscription gives access to many DLC’s and various game enhancements.

When Blizzard launched World of Warcraft in 2004, players could try the game for free to decide if they wanted to subscribe. Blizzard was following the lead of RuneScape (2001) – the MMORPG had added a subscription tier that gave users additional content. RuneScape and World of Warcraft were two of the earliest games to use tiered pricing as a revenue stream.

runescape classic
Runescape (Courtesy Jagex)

Other games followed suit: MMO’s such as Dungeons and Dragons Online (2006) and Age of Conan (2008) successfully adopted the free-to-play model with in-game purchases. Riot Games then launched League of Legends (2009) as free-to-play, with paid cosmetic upgrades. Valve has implemented a similar revenue model for Dota 2 (2013), and is able to crowd-fund the Dota 2 International – which has the biggest prize pool among all esports titles – through the sale of upgrades that either enhance the game or add cosmetic changes.

How the GaaS Model Pays for Itself

Live service titles are the most popular games today – they had a user base of 2 billion PC gamers in 2020, while pay-to-play games had about 445 million users. Free-to-play PC games generated $22.7 bn in revenue worldwide in 2020. A 2020 survey revealed that 35% of gamers worldwide subscribe to a gaming service. Free-to-play games accounted for 78%, or $98.4bn, of total worldwide gaming revenue in the same year.

The adoption of the GaaS model has powered the explosive growth of EA and Activision. In 2018, EA’s value rose from $4 bn to $33 bn on the back of live service titles such as the annual sports franchises FIFA, Madden, NHL and NBA, with Ultimate Team modes in UFC, FIFA and Hockey bringing in additional revenue. Activision’s value rose from $10 bn to $60 bn thanks to live service games such as Overwatch (2016), Destiny 2 (2017) and the acquisition of the social gaming company King and its casual games, such as Candy Crush Saga.

Game studios fund new content – and turn a profit – through a plethora of revenue streams:

  • In-Game Purchases and Microtransactions: Users pay a small fee for in-game items, cosmetic upgrades, enhanced gameplay, skipping the grind, removing annoyances like timers, and more. Some notable games that employ this revenue model are  Fortnite, Dota 2 and Candy Crush Saga 
  • In-Game Advertising: Ads are mostly restricted to mobile games, though there are examples of in-game advertising in other platforms as well. According to a study conducted by Accenture, more than 73% of mobile gamers report openness to receiving in-game ads. Ad revenue from gaming is expected to reach $56 bn in 2024. Examples of such ads include Fortnite’s collaboration with the Air Jordan clothing brand and Pokemon Go’s contextual promotions, where a Starbucks ad also directs the user toward the Pokemon at a nearby Starbucks outlet.
Pokemon Go Starbucks
Pokemon Go’s collaboration with Starbucks (Courtesy Niantic)
  • Subscriptions: Users pay a subscription fee to play a base game that receives regular content updates, or to unlock new DLC and expansions.. MMORPGs such as World of Warcraft and The Elder Scrolls Online (ESO) follow a subscription model. 
  • Digital Passes: Season Passes and Battle Passes offer different types of content to gamers. A season pass offers current and future DLC at a discounted price, encouraging users to buy into the game before new DLC and expansions are released. The Battle Pass, however, rewards players with (usually) cosmetic upgrades for completing challenges and reaching milestones in-game. Battle passes can be paid or free, with the paid tier offering a faster progression towards in-game rewards – an important advantage because battle passes are time-limited. Genshin Impact, Apex Legends and Rocket League (2015) are among the games that use the battle pass system, while Destiny 2, Warframe (2013), The Division 2 (2019) sell season passes.
Dota 2 Internation Battle Pass
Dota 2’s International Battle Pass (Courtesy Valve Corporation)
  • Paid Expansions: Studios also sell large expansions that contain new content, features, game modes and campaigns. Content bundled in season passes are also sold separately, as with ESO, whose DLC can be purchased a la carte if you don’t want a subscription. World of Warcraft also featured paid expansions – on top of the subscription tier, as does Destiny 2. Unlike a season pass, gamers are not buying into DLC before release and can see for themselves if expansion packs are worth the price. 
  • Loot Boxes: Loot boxes are in-game items that can be opened to collect random virtual gear. The ‘loot’ you get may comprise items that are much sought after, or just stuff that’s available at low prices in-store. This means that two players who pay the same sum to buy a loot box stand a different chance of gaining rare or unique gear, which is perceived as unfair. Loot boxes can be purchased both in-game and separately, as game addons.
battlefront 2 loot boxes
Star Wars: Battlefront 2 Loot Boxes (Courtesy EA)

Monetization strategies can be highly successful: In 2021, Activision Blizzard made $6.49 billion through non-product revenue streams such as in-game purchases, downloadable content and subscriptions, while it made $2.3 bn from product sales. In 2021, Electronic Arts made $1.62 bn from the sale of content addons for the FIFA Ultimate Team game mode.  However, gamers can be quite vocal in their criticism, and even abandon a game, if they believe a company has taken monetization too far. In the following section, we will discuss how content rollouts, and the use and abuse of monetization strategies, can drastically impact how a live-service game fares.

GaaS: What Gamers Love, What they Hate

A good live-service game will keep offering more reasons to return to it, and also draw in new players. Live-service games have low barriers to entry – you can start playing them for free, and the good ones have microtransactions only for cosmetic upgrades that offer no competitive advantage. Bad content compounded with exploitative monetization strategies can lead to games losing huge chunks of their user base within weeks after launch.

What Gamers Love about GaaS

Many GaaS games succeed by improving the game through regular updates, and consistently engaging players with expansion packs that include new areas, quests, characters and game modes. Improving content rollouts can also help games bounce back from poor performance at launch. Regular updates can help retain users – a gamer who buys only a few of ESO’s DLC’s still benefits from developer support and may be encouraged to buy more content in the future.

Users love live-service games that feature:

  • Frequent updates that balance the game, fix bugs and add quality-of-life improvements 
  • DLC-scale content that offers new lands, quests, game modes and other enhancements
  • Detailed and well-executed road maps based on players’ needs.
  • In-app purchases that don’t affect gameplay and add cosmetic enhancements

Live-service games are rated mostly on their content and player engagement. Gamerant’s list of 13 best live-service games does not dwell at all on how these games pay for themselves, but on what they have offered to gamers over sustained periods of time. It takes special note of games such as Warframe and Grand Theft Auto Online, which were both released in 2013, but are still drawing in new players because of their expansive content. For such games to succeed, developers must sustain them for nearly a decade – as with GTA Online and Warframe – or longer, as is the case with World of Warcraft and League of Legends.

Games such as Destiny 2 and The Division are also lauded for offering free updates, fixes and gameplay improvements: they remain engaging even if one does not pay for new content. Many developers also improve the stability of their game worlds over time, allowing them to attract new users, and retain existing players, by adding expansions without compromising gameplay.

Live-service games can prove unusually resilient if developers commit to providing quality content and improving the customer experience. Despite a rocky start, ESO greatly expanded its user base after Bethesda added expansion packs that allowed users to explore new lands and regions with engaging questlines, and join major factions common to all Elder Scrolls games. The studio pulled off a similar rescue act with Fallout 76, a disaster on launch – server issues, lack of NPC’s, and poor-quality tie-in merchandise drew widespread criticism. Yet again, Bethesda added new content and updates, including tons of bug-fixes, new NPC’s, and large-scale expansions. In 2021, Bethesda CEO Todd Howard wrote in a reddit post that Fallout 76 was one of the studio’s most-played games, with 11 million users. 

Rainbow Six Siege and The Division (both created by Ubisoft) grew in numbers via quality content updates. The Division managed to lose 93% of its player base soon after release, but Ubisoft resurrected it with fresh content and gameplay, and it gained 20 million players. Rainbow Six Siege is described as ‘the king of the comeback’ and drew in 25 million users, and became a major esport, despite being riddled with game-breaking bugs and server issues at launch.

Clear roadmaps can also help drive a live-service game’s success, by telling players exactly what to expect. Even now, games such as Halo Infinite (2021) and Warframe struggle to create and stick to a clear roadmap, which has caused confusion among gamers. 

Failing to deliver promises made in the roadmap can lead to intense backlash, as was the case with Bioware’s Anthem (2019). The studio promised a great deal of content in their roadmap, but released a sub-par game that barely resembled what the publishers had led players to expect. The game failed not only because of problems at launch, but also due to a misleading roadmap.

What Gamers Hate about GaaS

Gamers are not too fond of microtransactions and only 5-20% of the community takes part in them. However, about 25% of gamers who engage in microtransactions spend considerable sums on in-game purchases. They used to drive the revenue of free-to-play games, though these ‘whales’ constitute a lesser proportion of in-game sales today.

A live-service game needs money to pay for development and the sustained rollout of quality updates and content, but things go awry when monetization is seen as excessive, drawing the ire of gamers. According to a SuperData report, gaming companies walk a fine line between engaging players with new content, and alienating them with unpopular monetization strategies. Paid cosmetic upgrades that do not offer a competitive edge are mostly tolerated by players.

Gamers will likely protest against exploitative practices such as:

  • Pay-to-win monetization, where money buys you an unfair competitive advantage.
  • Over-monetization, where everything seems to cost money, leading to a hollow vanilla game. Basic features cost money, and completing ‘free’ battle passes offers only minimal level boosts or in-game resources, forcing gamers to pay-to-play for a good experience.
  • ‘Random’ rewards such as loot boxes, where there can be great variation between the amount of money paid and the quality of the rewards received. 
  • Broken promises and failure to deliver on game roadmaps.

Exploitative monetization, and gamers’ distaste for microtransactions, have led to the creation of a site that tracks games and rates them on what you might have to spend after buying a pay-to-play game, or starting a free-to-play game. A few games, such as The Banner Saga 2 (2016) are given a ‘Spotless’ rating, indicating full ownership of a title once bought. The website dwells at length on all the things you might have to pay for if you buy a less-than-spotless game.

Fallout 76’s content – or lack thereof – was bad enough at launch, but it also featured pay-to-win microtransactions that further alienated users. In the case of Marvel’s Avengers (2020), the pay-to-win booster upgrades angered players so much that the publisher eventually removed the offending items from the store. Some games retain their popularity despite using pay-to-win economies: Clash of Clans (2012) and Warframe both allow paying gamers to level up faster. However, while such a practice may be tolerated, it is still pointed out and criticized.

In over-monetized games, even base features require in-store purchases. In The Hunter: Call of the Wild (2017), you had to buy hunting licenses to shoot animals in the game. In effect, you could only hit targets at the shooting range if you didn’t shell out money for the right to shoot at animals – in a game that was literally about hunting. The game’s developer Avalanche Studios now offers a pay-to-play version without microtransactions. 

In Halo Infinite’s multiplayer mode, the XP progression was so slow that leveling up effectively required playing full-time. You had to play a hundred daily challenges to reach rank one. But you could buy your way past this and level up faster, with an Xbox Game Pass Ultimate subscription, which offered free boosts and gear. The game has since been balanced with a better progression system, involving more XP boosts and credit-drops for users who play for free.

Loot boxes are the most controversial – and perhaps the most aggravating – kind of monetization strategy. Star Wars Battlefront II loot boxes required gamers to shell out extra money to play iconic characters like Darth Vader and Princess Leia. EA’s response to a reddit post on the issue holds the record for the most downvoted reddit comment in the Guinness Book of World Records. The backlash led share prices of Electronic Arts to fall and forced EA to do away with the loot boxes in-game.

Take Two Interactive is being sued over loot boxes in the NBA 2K series of basketball games. The plaintiffs contend that the games induce players to spend significant sums on in-game items and other purchases, even though Take Two charges standard prices for the base games. 

Badly monetized games may get lambasted as thinly-veiled cash-grabs, but developers who respect player sentiments and restrict microtransactions to cosmetics can enjoy great success: Fortnite had 350 million registered players in 2020, before its legal conflict with Apple and Google. League of Legends also has a huge player base of 180 million as of 2022, while offering no competitive advantage with its in-game purchases.

In the following section, we will look at future directions for live-service gaming – the emergence of games as a platform, the promise of cloud gaming, and the controversial NFT gaming scene.

How GaaS Monetization Could Change in the Future

While live-service games can keep gamers engaged for years, heavy-handed monetization strategies can spell disaster. 

The advent of cloud gaming could utterly transform this dynamic. Cloud gaming could make live-service games highly cost effective and playable on multiple devices. Moreover, new content and updates would be delivered via the cloud, requiring no local downloads. Game companies could agree to a library-based model, wherein a single subscription gives access to constantly updated and remotely accessible games. Cloud gaming also allows gamers to save on hardware, freeing up money that could be spent on in-game purchases. The library model and increased potential for player spending could help publishers eschew aggressive monetization strategies.

Live service games such as Fortnite are starting to resemble platforms, according to Microsoft’s head of cloud gaming. James Gwertzman points out that Fortnite now is more than a service and almost a community, with live in-game concerts, and that some ‘game platforms’ encourage gamers to become developers by offering modding utilities and other creative tools. These citizen developers are able to host their own persistent worlds for games such as Minecraft Realms and Roblox. Such developments indicate that even the creation of new content – central to the success of live service games – is being left to gaming enthusiasts, who can create and sell experiences in a community-powered platform

But what if you could earn just by playing? NFTs – non-fungible tokens – are at the core of ‘play-to-earn’ games, some of which are ‘free-to-play’, though others require you to spend some cryptocurrency. A non-fungible token is a unique and irreplaceable digital entity that exists on a public blockchain. Playing NFT games results in the generation of new NFTs that can be traded both in-game and on cryptocurrency exchanges. In Axie Infinity, you breed NFT monsters called Axies and battle with other Axies. You can purchase monsters and breeding resources in-game – or win them by playing – and sell Axies both in game and on cryptocurrency exchanges to earn money.

If NFTs take off, then any type of intangible digital asset – including the skins and cosmetic upgrades in games like League of Legends, Fortnite and Dota 2 – can be stored on the blockchain and sold on exchanges. But NFTs have been treated with suspicion and scepticism: Valve has banned crypto-based apps on Steam. Neither is Epic bullish on NFTs, because of ‘an intractable mix of [NFT] scams’. No mainstream games have announced NFT integration yet.

Conclusion

In a hit-driven industry, a live-service game can seem a very good business proposition for game developers, but it also entails a commitment to providing updates and new content over the course of years. Such a commitment makes GaaS games capable of surviving disastrous initial releases as well. The adoption of GaaS can help the gaming industry move past an over-reliance on hits from major IPs.

The industry-wide shift to the GaaS model is ultimately a good thing for gamers, who will appreciate the wide range of games on offer provided that publishers refrain from excessive monetization – a real possibility in a future that includes cloud gaming and games-as-platforms.

Gameopedia maintains an extensive and constantly-updated database of live-service games. Reach out to us to get access to data that will yield valuable insights into the world of games-as-a-service.

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The Future of VR Gaming

In a previous article, we discussed the evolution of VR gaming and VR technology. In this piece, we will discuss their future.

Since they first hit the market in 2015, VR headsets have become (relatively) cheaper, and now come with a wide selection of games boasting high-quality graphics, immersive environments and highly-interactive game worlds. Headsets now boast higher resolutions, better motion detection and controls, and are also getting cheaper. 

Yet the industry faces multiple challenges that hinder virtual reality’s adoption among gamers and other users. This has not stopped tech giants like Meta, Apple and Google from backing the technology – and has spurred developers to solve the problems with current VR technology and enhance the VR experience.

What is Holding VR Gaming Back?

The VR industry remains niche, even in the gaming market, where it has seen actual gains. Despite improvements in the technology, user experience is cited as one of the biggest obstacles to VR adoption. VR sickness – the dizziness, disorientation and nausea experienced in VR – remains a problem that deters users from fully committing to VR and raises health concerns about VR gaming.

The pandemic wasn’t kind to VR gaming either – hardware shortages coincided with the release of the first great AAA VR game, Half Life: Alyx, and VR arcades went out of business due to lockdown restrictions. 

VR Gaming Remains a Niche Market

Experts rate that VR is most prevalent in gaming, where it has the greatest potential to immerse users in all-encompassing worlds.

Statistics show that VR is one of the fastest-growing segments in media, due in large part to VR gaming, and the Quest 2 powered strong headset sales in 2021. However, VR headset and game sales still constitute a minute fraction of the gaming market: they accounted for 0.4% of the $130bn revenue from gaming hardware and software in 2020. The VR gaming market size is expected to reach $42.5 bn in 2025, while the gaming market as a whole is expected to be worth $300 bn by then.

When optimistic projections are seen in context, it appears that VR may remain a niche market in the coming years – unless the efforts of those in the industry propel it to new heights. VR game sales figures also need to be seen in context: Beat Saber took three years to reach an estimated $180 million in revenue, while Red Dead Redemption 2 made $725 million in its first weekend of release.

Costly, but Not User-Friendly

Tech observers have not been kind to the nascent VR industry, continually citing the poor user experience, the high price, the problems with the gear, motion sickness, and the mixed success of VR arcades as proof that VR is failing to live up to its potential.

VR technology remains problematic, according to PC Gamer – handling and throwing objects still doesn’t feel right, headsets remain bulky and uncomfortable, and VR gear has few provisions for accessibility and the physically challenged. Although the most popular headset, Quest 2, costs only $300, Valve’s Index headset and ‘knuckle’ controllers together cost $1339, and the HTC Vive Pro costs $1399 (as of the time of writing this blog). Both Valve and HTC’s headsets need to be tethered to powerful PCs as well. Despite the high cost, these VR kits do not track full-body movements to enable natural walking or running in virtual environments. 

A Polygon article considers current VR hardware a ‘trainwreck for anyone but people who like to build their own PCs’. Virtual reality is evolving rapidly, and that can paradoxically stymie its adoption today. This is at the center of Polygon’s screed against VR: why spend money on a bulky, blurry headset today when just five years later, you may have access to HDR headsets with even higher resolutions?

Gaming Took Off During the Pandemic; VR Didn’t

VR gaming didn’t quite take off during the pandemic, even though gaming revenues soared during the lockdown. The greatest VR game yet, Half Life: Alyx, was released on March 23, 2020. Yet its release coincided with a shortage of headsets such as the Valve Index, the Oculus Quest and the Rift S. Due to VR’s dependence on dedicated hardware, Half Life: Alyx could not reach its full potential in sales, even when millions turned to gaming as a way to cope with lockdowns.

The pandemic almost put an end to VR arcades, where gamers could roam freely in enclosures, wearing headsets tethered to PCs slung on their backs, shooting zombies and other enemies using arcade guns. Such arcades were considered the future of virtual reality in gaming until the lockdown – and its attendant restrictions on public gatherings – put almost all of them out of business. One of them, however, has made a triumphant return: Sandbox VR, a Hong Kong-based gaming company that went bankrupt during COVID, has since re-emerged from ruin after a strong round of fund-raising and plans to open new arcades in London, Toronto and other cities in 2022.

Motion Sickness Puts Gamers off VR

In 2016, a Los Angeles writer played the VR game Tilt Brush for 25 hours straight, while representatives from the Guinness Book of World Records watched. He vomited once while playing, and after he stopped, the world looked ‘uncanny’ and distant objects felt unreal. He recovered in a day, but found the experience overwhelming. His record has since been broken.

VR headsets cannot track leg movements, and gamers hence use controllers to move forward in-game (while remaining still in the real world). This results in motion sickness and discourages users from spending prolonged periods in virtual reality.

A Healthline article lists nausea and vomiting, queasiness, cold sweats, dizziness, headache, and fatigue as the symptoms of VR sickness – and ties it directly to the strong sense of ‘presence’ created by the verisimilitude of VR gaming. This immersion fools your inner ear into thinking that you are moving – even as your muscles and joints report that you are still. The better the game is at creating a strong sense of presence, the more pronounced the symptoms can get.

A variety of cures are suggested, including fresh air, aromatherapy and ginger, and gamers who want to curb VR motion sickness symptoms while playing can try scopolamine patches, Dramamine or acupressure wrist bands. Symptoms subside a few hours after the VR session ends, though if they persist, you should see a doctor. A technology that all but requires medication is unlikely to attract new users. 

The Healthline article recommends using VR treadmills and other devices that accurately track leg movements in the real world to simulate movement in virtual reality – and hardware developers are hard at work creating consumer-grade versions of such devices.

How the Tech World is Tackling VR Problems

Given this litany of problems and grievances, it is no wonder that Wired has called for the VR industry to be judged on its performance, rather than optimistic projections and the aspirations of tech giants like Meta. 

Each VR problem has a potential solution that can help widen user adoption. 

The tech world continues to pour millions into VR development – companies are developing new technologies to improve the VR experience, and Facebook is the biggest player in the VR market, though Apple, Google and Microsoft are also in the fray.

Tech giants aren’t in this game for gaming alone: they are rushing to create the metaverse – a combination of virtual and augmented reality where users fully inhabit a simulated world created by technology, interacting with each other within its confines. The metaverse may not be ostensibly relevant to gaming, but will inevitably result in improved UX and VR technology designed for prolonged (and varied) use, and can include gaming within its broad scope.

In an illuminating video on the metaverse as it exists today, Wall Street Journal columnist Joanna Stern spends a day in virtual reality – she kicks things off with a game of Beat Saber, then visits AltSpaceVR for social interaction, and sleeps with the help of a meditation app. On waking up she uses a browser to read the news, works out using the Supernatural fitness app, and attends virtual meetings for hours, eventually getting a headache. Tech giants want to create such experiences (except perhaps the headache) on a far grander scale – the closest approximation to this is Steven Spielberg’s movie Ready Player One.

Ready Player One (Courtesy: Warner Bros)

Redefining VR for the Future

Many hardware developers are working to address the technical shortcomings of VR gear – headset makers are making lighter and sleeker headsets, while developers are designing new locomotion tracking gear so that movement in real life is mirrored in virtual space. A community of enthusiasts is also enriching VR with literally game-changing mods that either improve gameplay in a VR game, or enable VR modes in flat-screen games. Developers are also coming up with lightweight and inexpensive solutions for natural movement in virtual reality. Cloud VR gaming is in a nascent stage but holds great promise for the future of gaming in VR.

Sleeker and Lighter Headsets

VR headsets in the past have been bulky and awkward to wear, but Sony, Panasonic, HTC and Apple are designing sleeker, lighter headsets that boast higher resolutions. 

The PlayStation VR 2 headset is far sleeker than the PSVR, and offers 4k resolution. Meta’s Oculus Quest 2 headset weighs a mere 503 grams, while Apple is designing a headset that combines virtual reality and augmented reality and uses a special lens to keep the headset’s weight under 150 grams. While the Apple headset doesn’t have a release date, the PS VR 2 is expected to reach consumers by 2023. 

The PSVR (Left) and PSVR 2 (Right) (Courtesy: Sony)

The HTC Vive Flow is the sleekest pair of VR goggles on the market now, resembling foldable glasses. It interfaces with smartphones, weighs 189 grams and fits in a small case. It does not support VR gaming but is meant for ‘mindful productivity and wellness’. You can also view VR content and use a smartphone as a rudimentary controller. The Vive Flow clearly indicates how cool and lightweight VR headsets can become in the near future.

The HTC Vive Flow (Courtesy HTC)

Panasonic’s UHD headset looks like a pair of steampunk goggles – and is the first of its kind, enabling high-dynamic range visuals – although the company has not yet announced a consumer-grade version. 

The World’s First UHD HDR VR Goggles (Courtesy Panasonic)

Curbing Motion Sickness

Motion sickness in virtual reality can be alleviated to a great extent when actual movements in the real world drive movement in virtual reality. Solutions for achieving this sort of immersive, seamless navigation include VR treadmills and motion-capture sensors.

Omnidirectional treadmills are arguably the most robust solution: they prevent motion sickness and the possibility of crashing into a wall or your room’s furniture when you unintentionally move around in your room while immersed in a game. 

The Kat Walk C, made by Kat VR, is marketed as the first personal VR gaming treadmill and allows users to slide on a base while strapped to two cross-bars, and is designed to fit in small interiors. The base detects body movements, which are translated into seamless real-time locomotion in virtual reality. The treadmill decouples head-turning and leg movement – you can move in one direction while looking in another – and allows strafing, crouching, and peeking out from corners. VR motion controllers already enable some – but not all – of these movements, while an omni-directional treadmill like the Kat Walk C detects all such motion in real life and mirrors them in virtual reality.

The Kat Walk C, an omnidirectional treadmill (Courtesy KatVR)

The Kat Walk C (on sale as of the time of this writing) costs $1399 – users looking for a more affordable solution can try out the walk-in-place mo-cap sensors made by WalkOVR.

WalkOVR’s wearable tech converts in-place movement in real life into real-time omnidirectional locomotion in VR. These wearable sensors, known as OVR Nodes, are attached to your shins, ankles and chest and let you move in your virtual environment by walking or running in place, and change direction by moving your torso. Customers can choose from pared down options (with only a chest band or two knee bands) or the full set, which includes OVR Nodes for the chest, shins and knees. Like an omnidirectional treadmill, WalkOVR allows crouching and decouples head turning from leg movement, allowing you to walk in one direction while looking in the other. The full set of WalkOVR’s wearables costs $249, while a pared down set that includes only the leg bands costs $119.

WalkOVR’s wearable mo-cap sensors (Courtesy WalkOVR)

VR headsets generally allow you to move only in the direction you are facing – and both the Kat Walk C and Walk OVR’s technology solve this problem, allowing a wider range of movements and a more natural and immersive way to navigate virtual reality. Neither the treadmill nor the wearables are cheap – but their focus on gaming suggests that there does exist a market among gamers for this type of technology.  

Mods and Plugins Enrich PC VR

The PC VR community is a thriving space – mods improve the VR experience or enable VR mode for flat-screen games, and developers have come up with lightweight solutions for leg tracking to simulate movement in VR.

Natural Locomotion is a plugin that allows you to move forward and backward by swinging your arms. Its ‘feet mode’ can use a smartphone, Nintendo Switch Joy Cons or other devices that can double as motion sensors to simulate movement in VR using in-place walking and running.

Skyrim’s VR mods fix many of the issues with the vanilla game, and also add new gameplay elements from other successful VR titles. The VRIK mod gives you a full body in-game – your hand and arm gestures in real life are mirrored in the game world. The Higgs mod replicates the gravity gloves mechanic of Half Life: Alyx and lets you interact with multiple in-game objects – addressing PC Gamer’s criticism that handling and throwing objects in VR doesn’t feel right.

The recently released Planck mod uses collision-based mechanics to allow you to slap people in-game, grab onto them and drag them along, and adds accurate weapon tracking so that you are able to hit targets properly in VR, instead of flailing around.

Slapping Nazeem in Skyrim (Courtesy Bethesda and Youtube User Markfusion)

Cyberpunk 2077 now has a VR version. thanks to the efforts of mod author Luke Ross. The prolific creator has also made a free VR mode for GTA V, and supporting him on Patreon unlocks the early-access Read Dead Redemption 2 VR mod for patrons. Ross’s mods aren’t complete VR experiences – they require the use of a gamepad or controller for movement and combat – but they still allow gamers to experience non-VR game worlds using VR headsets.

With mods and plugins, the PC VR community could ensure a permanent niche for virtual reality gaming, and even help it go mainstream if bigger companies acquire community mods. 

Going Mainstream on the Cloud

VR cloud gaming, which could be the biggest driver of VR adoption, is still a developing technology. Cloud gaming is dependent on strong internet networks for smooth streaming – industry insider Amir Bozorgzadeh insists that 5G networks are necessary for headsets to become lighter, as 5G will shift the computing burden from the CPU and GPU to edge servers.

Timoni West, head of virtual reality and augmented reality at Unity (the makers of the industry-standard game engine of the same name) believes that photorealistic renders – which can help achieve total immersion in VR – are far beyond the capabilities of current VR headsets.

Cloud computing could enable VR headsets to achieve photorealism, and by removing the need for expensive GPUs or gaming PCs, the cloud could also address concerns about the high cost of VR headsets. Cloud gaming could thus drive VR adoption and help it reach the mainstream.

However, cloud VR gaming is still very much a work-in-progress, Nvidia CloudXR looks to be the only scalable solution, and was accessible only through an Nvidia developer account until it was made publicly available on the Google Cloud Marketplace. Plutosphere is a new cloud VR beta for the Oculus Quest series of headsets and has a host of requirements: it needs at least 50 Mbps bandwidth and a WiFi 6 router; the headset should be connected on the 5 GHz band and for best results, you should play in the room where your router is set up. 

The success of the standalone headset Oculus Quest 2 and the spread of 5G wireless networks suggest that lighter and cloud-powered headsets may become the norm. The Quest 2 already allows you to stream games from your PC using its Virtual Desktop App, and if such headsets start integrating with the cloud, VR gaming could reach an ever-widening user base.

Conclusion

VR gaming is a nascent field that has its fair share of problems, leading observers to wonder if it is just a fad. The need to invest both in hardware and games creates a high barrier to entry.

Yet tech giants are deeply committed to VR research and the metaverse. Their efforts will inevitably help VR reach a wider audience, lead to sleeker and lighter gear, and improve the gaming experience as a spillover effect. HTC’s Vive Flow, one of the most stylish headsets available today, is marketed as ‘your VR companion in the metaverse’. 

VR accessories such as omnidirectional treadmills and mo-cap sensor wearables can have a huge impact on the gaming experience by preventing motion sickness. Currently, these solutions are costly – but falling headset prices can lead to cheaper accessories too. 

The emergence of 5G networks and cloud gaming also point to lighter and standalone headsets with cloud-powered VR experiences that do away with expensive gaming hardware.

The future of VR gaming depends for the most part on the people in the field itself, and if their efforts are any indication, gaming in virtual worlds will only get better with time. 

At Gameopedia, we work with clients on custom requests and can provide in-depth analytics on any subject related to gaming and VR. Reach out to us to get access to data that will yield valuable insights into the world of VR gaming and its future. 

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The Evolution of VR Gaming

Virtual reality headsets have become more accessible to consumers in the recent past – after decades of failed attempts to make the technology affordable – and VR gaming has grown in popularity with the advent of games such as Half Life: Alyx and Beat Saber. The concept of virtual reality – first popularised in seminal science fiction works such as Neuromancer and the film Tron – has inspired technologists to innovate in this field, and impelled tech giants like Facebook to funnel millions into VR development. In this blog, we will discuss the history of VR technology and the evolution of VR games. Scientists have strived for years to create affordable VR tech, and game developers today pull users into uniquely virtual and highly interactive game worlds, offering an experience quite unlike other forms of gaming. 

Statistics and projections about VR gaming are highly optimistic. They indicate a fast-growing market and project skyrocketing demand for devices that support virtual and augmented reality. But there are concerns that virtual reality and gaming in VR may not live up to their potential.

What is Virtual Reality?

Virtual reality is a term with multiple connotations, but it fundamentally involves near-total immersion in a simulated environment with which users interact in the first person, experiencing a strong sense of presence.

This type of simulated reality was first visualised in the ground-breaking Disney film Tron (1982), where a computer programmer breaks into a simulated reality created by a malignant AI. He interacts with friendly programs to defeat the AI, and eventually escapes from his virtual prison. Tron was one of the first films to make extensive use of computer-generated imagery.

The concept of virtual reality as a simulacrum created by computers was first popularised in William Gibson’s Neuromancer (1984). In his award-winning novel, Gibson coined the term cyberspace: a ‘consensual (shared) hallucination’ created by visual representations of computer data in a simulated environment. Today we use the term to describe the internet and the information highway.

These fictional works are important in the history of VR because, as a developer states, ‘VR has no context in the real world’. Designing for VR requires developers to draw inspiration both from science fiction and the real world, and they strive to create realistic and immersive VR experiences. Virtual reality has exercised a strong fascination on technologists, from VR developers and gamers to the founder of Facebook (now Meta), Mark Zuckerberg. Facebook acquired Oculus – the first company to make modern VR gear – for $2 billion in 2014, even before Oculus had sold a single headset.

But simulations and immersive realities have inspired people for decades, if not generations. Artists made panoramic paintings in the 19th century to immerse viewers in battlefields or wide-open vistas. By the twentieth century, inventors were tinkering with stereoscopes and dual-screen headsets well before creative works popularised the idea of computer-generated virtual worlds, as we will see in the next section.

The History of VR Technology

The physiological basis of virtual reality is stereopsis: our two eyes perceive objects from slightly dissimilar perspectives, leading to depth perception and a 3D view of the world. The English scientist Charles Wheatstone first described this phenomenon in 1838 and invented the first stereoscope. The stereoscope was first patented in 1939 and built on Wheatstone’s work: it projected two slightly skewed photographs to create a 3D image. A VR headset does the same for video and gaming.

In the 1960’s, the cinematographer Morton Heilig conceived two virtual reality devices. The first was the Sensorama, which immersed viewers in a multi-sensory experience created by an arcade-style machine. He also invented a head-mounted display called the Telesphere Mask, which bears a striking resemblance to today’s VR headsets and which used two TV screens to create a 3D view.

After Heilig, virtual reality was developed mostly by contractors in US defense programs. In 1966, Thomas Furness developed the first flight simulator, and in 1968, Ivan Sutherland made the Sword of Damocles, the first VR headset that worked with a computer rather than using TV screens.

By 1986, Furness had developed a simulator that created a virtual view based on data from the sensors on aircraft, helping pilots make sense of the information they received moment-by-moment. The data-driven ‘cyberspace’ imagined by Gibson had become a (virtual) reality.

A year later, the Visual Programming Lab (VPL) sold the first head-mounted display and its founder Jaron Lanier coined the term ‘virtual reality’ to characterise his company’s products. The VPL also made the DataGlove, which could convert hand gestures into virtual movements and the EyePhone HMD, which tracked head movements in a computer simulation.

The nineties saw a short-lived VR craze – Sega attempted to create a VR headset, but it never went past the prototype stage. Nintendo’s Virtual Boy was the only device meant for home gaming, but found few takers because of its price and limited graphics. The Virtuality Group made VR headsets and ‘pods’ (cushioned seats where players could sit or stand to play) to be used in arcades, and designed games for the new technology. Despite the primitive graphics, Virtuality Group’s games gave users their first – and brief – taste of VR gameplay before arcades gave way to home gaming.

About 15 years elapsed before virtual reality became commercially viable. In 2012, Palmer Luckey’s Oculus Rift prototype emerged as the first potential consumer-grade VR device, after raising $2.4 million in a hugely successful Kickstarter campaign. The Rift succeeded where others failed not only because of its design, but also because modern GPUs could finally support the high graphics requirements of a VR device.

2015 saw the release of two VR headsets: Google Cardboard and the Samsung Gear VR. Both interfaced with smartphones to create VR experiences. Despite initially making waves as a novel, inexpensive VR solution, Google’s Cardboard is now discontinued, and Samsung stopped support for VR and XR services, on both current and older Samsung Galaxy smartphones, in 2021.

Oculus Rift VR Development Kit 2
Oculus Rift Development Kit 1 (Courtesy iFixit)

The next year, the first modern consumer-grade VR headsets hit the market: the HTC Vive, the Oculus Rift and PlayStation VR. These headsets were relatively affordable and unlike Google’s Cardboard or the Samsung Gear VR, interfaced with a gaming PC (or a PS4 console) to enable high frame-rates and smooth VR gameplay. They premiered with a selection of games, as both Oculus and Sony released their headsets to developers before the hardware was launched.

In 2017, Virtuix shipped the Omni, an omnidirectional treadmill for virtual reality games and other applications. The Omni was the first of its kind – movement on the treadmill translated into motion in virtual reality – and was even used by Steven Spielberg as a reference for the VR treadmill used in Ready Player One (2018), a hit film set in a dystopian future where humans escape into a totally immersive virtual world. Omni is now working on an affordable VR treadmill. 

By 2020, consumers could choose from a wide variety of devices, and prices had dropped as well. Meta’s Oculus Quest 2 (2020) emerged as the best-selling Oculus headset yet. By 2021, it had outsold all previous Oculus headsets combined, and is now the most popular consumer headset in the market according to Steam’s hardware survey.

Sony confirmed in 2021 that it was working on the PlayStation VR2, for its PS5 platform, though it has not committed to a release date yet. 

From Blocky Graphics to Huge Game Worlds

The VR experiences of the 90’s were crude, the gear was expensive or restricted to arcades, and devices meant for home use never really took off: Nintendo’s Virtual Boy was very heavy, and had all-red graphics that caused eye strain. Virtuality’s games, restricted to arcades, featured primitive controls and blocky graphics. Present-day VR developers likely learned what not to do from the 90’s VR craze, more than anything else.

Today, they face a host of challenges, all of which have impacted the development – and evolution – of virtual gaming. Making a VR game is a risky endeavour.

VR gear is still expensive and bulky. Poor user experience is the biggest obstacle to adoption. Present-day headsets are either standalone (with limited processing power) or tethered (with all the power of a console or PC), meaning developers have to optimise games for different headsets and platforms.

The biggest problem though is VR sickness: the headaches, dizziness and vertigo experienced during and after gaming in virtual reality discourage users from longer sessions. 

These challenges have impelled developers to innovate ceaselessly. Gamers now have access to a wide range of titles, from AAA studios like Capcom and Bethesda, and indie developers such as Ready at Dawn and Owlchemy Labs.

While independent studios have led the way in VR game development, Valve has made the platform’s greatest game yet, Half Life: Alyx. VR developers strive to increase immersion in the game world – allowing players to look all around their environment, perform various actions using gestures, and interact with objects in the world – even as they try to minimise motion sickness and VR fatigue.  

The first modern VR games were released in 2016, when the first consumer-grade VR headsets reached customers.

1. The Indie Formula: Simple Graphics, Novel Gameplay

Indie game studios were the first to experiment with virtual reality and have dominated the virtual gaming scene since. The best VR games of 2016, such as Superhot VR, Job Simulator, Arizona Sunshine, Hover Junkers and others were all released by indie developers. These games had simple, often stylized, graphics and limited movement options (to prevent motion sickness). Their most compelling aspect was gameplay.

Superhot VR is a shooter in which time moves only when you move – essentially enabling bullet time in VR. The game allows you to use motion controllers to shoot, stab, punch, and shatter enemies – who will move the moment you move your arms.

superhot vr
Superhot VR (Courtesy Superhot Presents)

In Job Simulator you can choose four professions: office worker, mechanic, store clerk, or chef. You can move around, but not beyond, your workstation. You can pick up and throw almost every object in this space – and also use them to fulfill your tasks in outlandish ways. You can make coffee, and then throw the full mug at your boss. Much of the game’s humour derives from its interactivity (switching on a computer requires crouching and plugging it to a socket under your desk) and the absurd ways in which you can perform your ‘job’.

job simulator
Job Simulator (Courtesy Owlchemy Labs LLC)

A notable exception to this trend was Batman Arkham VR, a game from a AAA studio which featured realistic graphics and allowed you to play as the caped crusader. Gameplay was limited to solving puzzles and crimes by interacting with the game world and movement was limited to teleporting. Despite its mixed reception, it won the best VR game award at the Game Critics Awards 2016. 

Batman: Arkham VR (Courtesy Warner Bros. Interactive Entertainment Inc.)

2. AAA Games in Virtual Reality: Awe and Horror

If 2016 was the year of indie developers, 2017 was the year when AAA gaming studios joined the fray – with mixed results.

Skyrim VR, Fallout 4 VR, Resident Evil 7 and Doom VFR were all released in 2017. Bethesda ported Skyrim, while id Software recreated Doom (2016) for virtual reality, as Doom VFR. Capcom designed Resident Evil 7 to offer a compelling gameplay experience both on flat screens and in virtual reality.

As a virtual reality, the world of Skyrim inspired awe, but the clunky VR mechanics and combat soon broke the spell. The game’s graphics were also significantly downgraded, blurring far-off objects and targets and its 2D menus also broke immersion. The VR port nevertheless enjoys a high rating, largely because it allows players to inhabit one of gaming’s most expansive worlds.

Resident Evil 7 is probably the strongest AAA VR game besides Half Life: Alyx. The game’s graphics are optimized for VR and movement is smooth and seamless. The total immersion in first-person view makes for a terrifying experience. Capcom also solved the problem of high VR gear prices, simply by releasing a flat-screen version, thereby creating a separate revenue stream. Reviewers praised the high-detail visuals in VR and the varied customisation options, and deemed it as proof that VR was not just a gimmick. Horror has always been a popular VR genre, and until Half Life: Alyx, Resident Evil 7 represented the best of both horror and AAA games in VR.

Resident Evil 7 VR (Courtesy Capcom)

3. Lone Echo : The First VR Esport – in Virtual Zero-G

Even in 2017, the best VR game was made by an indie developer, Ready at Dawn. Dubbed best VR game of 2017 at the Game Critics Awards, Lone Echo boasts one of the most novel movement systems to date in virtual reality. The game is set in zero gravity, in a space station. Players move around by pushing themselves off surfaces in-game, floating in a zero-g space while standing relatively still in the real world. But hand and arm gestures in real life translate into movements in VR. Players explore the game world and solve puzzles using gestures, as they go about making repairs in the space station. The multiplayer mode, Lone Echo Arena, quickly became the first VR esport ever.

lone echo vr
Lone Echo VR (Courtesy Ready at Dawn Studios, LLC)

4. Beat Saber: The First Killer VR App

By 2018, VR gamers finally had access to cheaper VR gear. They could also choose between realistic games from AAA studios or quirky, offbeat indie titles. One of the latter – Beat Saber, became the first killer VR app.

Beat Saber is a rhythm game in which the player slashes coloured blocks using two lightsabers, in time with EDM beats. Using motion controllers, the player swipes in the air vertically or horizontally to cut through objects flying toward them, and can duck to avoid obstructions. The game’s success is attributable to creative marketing, replayability, and the use of free music. New songs are released continually, all of them composed by the dev team. As a result, players return for more, and in its early days, the free music allowed streamers to feature the game without encountering copyright takedowns.

Beat Saber allows you to feel like a sword-wielding warrior — while working up a sweat. It can also be played only seated, totally eliminating any motion sickness concerns.

Beat Saber’s financial success overshadowed many good VR titles released in 2018, such as Tetris Effect and Astro Bot: Rescue mission. Tetris Effect is a mind-bending experience in VR, where each level transports you to a new, detailed world. Astro Bot: Rescue Mission is one of the few VR platformers that works in third-person view: you control Astro Bot’s movements using Sony’s DualShock4 controller. The game was widely praised for its gorgeous visuals and its sense of fun. It won the best VR/AR game of the year award in 2018’s Game Awards, and was dubbed PlayStation VR’s killer app.

beat saber vr
Beat Saber (Courtesy Beat Games s.r.o)

5. Asgard’s Wrath: The Most Ambitious VR Game

The next great milestone in VR gaming is Asgard’s Wrath (2019), a gorgeous, photorealistic RPG game that has been hailed as the most ambitious VR game yet. You play as the new Norse God of Animals, and inhabit various player characters on heroic quests. Asgard’s Wrath has awe-inspiring visuals, tons of side-quests, and a fully-evolved combat system. It boasts a campaign lasting more than fifty hours – unprecedented for a VR game. Its beautiful interfaces give you control without breaking immersion. You use a complete player avatar instead of a pair of disembodied hands, and your movements in real life are mirrored in-game. Motion controls also allow you to pick up and eat food, clink beer tankards with NPC’s, place items in your inventory by moving your arm to your chest, toss food to your followers, and even fist-bump or high-five your companions. 

Virtual reality gaming had come a very long way since the days of Job Simulator and Superhot VR. Games such as Lone Echo, Asgard’s Wrath and Resident Evil 7 set the stage for what is widely regarded as VR’s greatest game, and second killer app: Half Life: Alyx.

Asgards Wrath
Asgard's Wrath (Courtesy Facebook Technologies, LLC)

6. The Watershed Moment in VR Gaming - Half Life: Alyx

Half Life: Alyx (2020) is considered a killer VR app for a variety of reasons: not only did it have novel mechanics unique to VR, but it also drove headset sales and led to speculation that VR games were finally emerging from their niche.

half life alyx vr
Half Life: Alyx VR(Courtesy Valve Corporation)

The game’s mechanics take interaction in virtual reality to new levels: to fire a gun, you have to eject a magazine, grab ammunition from your shoulder, fit it into your weapon and cock it before firing – using both buttons and gestures. The game replicates the series’ unique physics in VR, allowing you to use your gravity gloves (manipulated using controllers) to pull and push objects. Gunfights involve actually ducking for cover. To collect ammo, you pick up crates and fling them down to break them open. You deactivate trip mines by carefully passing a multi-tool item through hoops. You can draw on windows. You can throw bricks to stun zombies. Half Life: Alyx affords endless opportunities for interacting with the virtual world it creates.

The game was successful enough to double sales of the Valve Index and led to speculations about VR becoming mainstream. Two years after release, it is the second-best selling VR game.

The State of VR Gaming Today

Half: Life Alyx represents the pinnacle of VR game development. It’s not only a great game – it’s also an inspiration for developers.

Gamers now have access to multiple AAA titles and a host of indie games. New AAA releases include No Man’s Sky VR and Borderlands 2 VR. Successful indie games have received sequels as well: Vacation Simulator (sequel to Job Simulator) and Lone Echo 2 (2021).

In 2021, Armature Studio released Resident Evil 4 VR, completely reimagining Capcom’s 17-year-old classic for virtual reality. Released as an Oculus Quest 2 exclusive, the game made full use of the standalone headset’s capabilities. Like Half Life: Alyx, Resident Evil 4 VR has complex gestures for loading, aiming, and firing guns. You can open doors, solve puzzles, and save your progress using hand gestures. Reviewers also praised the Quest 2’s comfort factor and spatial sound, and hailed the game as the platform’s first killer app.

The evolution of VR gaming indicates that developers will continue to make their worlds even more immersive, interactive, and fun, drawing inspiration from the great games released in the five years since headsets became commercially available to consumers. Beat Saber’s success has already inspired various clones. Asgard’s Wrath points to bigger and better game worlds, and complex game mechanics. Lone Echo’s zero-g game arena could lead to more VR-based esports. The success of Half Life: Alyx will result in ever-more interactive worlds, with intuitive, gesture-based mechanics. Headsets are likely to get lighter and faster, and the success of the Oculus Quest 2 suggests that standalone headsets may become a standard for VR games.

Developers still face an uphill battle when designing for VR – but now they know what works. And gamers can look forward to total immersion in new worlds – a cherished dream since Tron.

In the next part of this series, we will discuss the future of VR gaming. Despite optimistic growth projections, concerns persist. VR is still considered a niche market by analysts and the mainstream press is not very enthusiastic about its prospects. This has not stopped technologists from developing new omni-directional treadmills, haptic suits and gloves, and more, even as enthusiasts work on mods and plugins to improve the VR experience.

At Gameopedia, we work with clients on custom requests and can provide in-depth data on any subject related to gaming and VR. Reach out to us to get access to data that will yield valuable insights into the world of VR gaming.


Featured image credits: Freepik (Virtual reality photo created by freepik – www.freepik.com)

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